Boris Akunin - Murder on the Leviathan

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12.01.2024 Борис Акунин внесён Минюстом России в реестр СМИ и физлиц, выполняющих функции иностранного агента. Борис Акунин состоит в организации «Настоящая Россия»* (*организация включена Минюстом в реестр иностранных агентов).
*НАСТОЯЩИЙ МАТЕРИАЛ (ИНФОРМАЦИЯ) ПРОИЗВЕДЕН, РАСПРОСТРАНЕН И (ИЛИ) НАПРАВЛЕН ИНОСТРАННЫМ АГЕНТОМ ЧХАРТИШВИЛИ ГРИГОРИЕМ ШАЛВОВИЧЕМ, ЛИБО КАСАЕТСЯ ДЕЯТЕЛЬНОСТИ ИНОСТРАННОГО АГЕНТА ЧХАРТИШВИЛИ ГРИГОРИЯ ШАЛВОВИЧА.


### Amazon.com Review
Usually, crime writers who give birth to protagonists deserving of future series want to feature those characters as prominently as possible in subsequent installments. Not so Boris Akunin, who succeeds his celebrated first novel about daring 19th-century Russian sleuth Erast Fandorin, __, with the less inventive *Murder on the Leviathan*, in which the now former Moscow investigator competes for center stage with a swell-headed French police commissioner, a crafty adventuress boasting more than her fair share of aliases, and a luxurious steamship that appears fated for deliberate destruction in the Indian Ocean.
Following the 1878 murders of British aristocrat Lord Littleby and his servants on Paris's fashionable Rue de Grenelle, Gustave Gauche, "Investigator for Especially Important Crimes," boards the double-engined, six-masted *Leviathan* on its maiden voyage from England to India. He's on the lookout for first-class passengers missing their specially made gold whale badges--one of which Littleby had yanked from his attacker before he died. However, this trap fails: several travelers are badgeless, and still others make equally good candidates for Littleby's slayer, including a demented baronet, a dubious Japanese army officer, a pregnant and loquacious Swiss banker's wife, and a suave Russian diplomat headed for Japan. That last is of course Fandorin, still recovering two years later from the events related in *The Winter Queen*. Like a lesser Hercule Poirot, "papa" Gauche grills these suspects, all of whom harbor secrets, and occasionally lays blame for Paris's "crime of the century" before one or another of them--only to have the hyper-perceptive Fandorin deflate his arguments. It takes many leagues of ocean, several more deaths, and a superfluity of overlong recollections by the shipmates before a solution to this twisted case emerges from the facts of Littleby's killing and the concurrent theft of a valuable Indian artifact from his mansion.
Like the best Golden Age nautical mysteries, *Murder on the Leviathan* finds its drama in the escalating tensions between a small circle of too-tight-quartered passengers, and draws its humor from their over-mannered behavior and individual eccentricities. Trouble is, Akunin (the pseudonym of Russian philologist Grigory Chkhartishvili) doesn't exceed expectations of what can be done within those traditions. *--J. Kingston Pierce*
### From Publishers Weekly
Akunin writes like a hybrid of Caleb Carr, Agatha Christie and Elizabeth Peters in his second mystery to be published in the U.S., set on the maiden voyage of the British luxury ship *Leviathan*, en route to India in the spring of 1878. Akunin's young Russian detective/diplomat protagonist, Erast Fandorin, has matured considerably since his debut in last year's highly praised *The Winter Queen*, set in 1876, and proves a worthy foil to French police commissioner Gustave Gauche, who boards the *Leviathan* because a clue suggests that one of the passengers murdered a wealthy British aristocrat, seven servants and two children in his Paris home and stole priceless Indian treasures. The intuitive, methodical Fandorin, who joins the ship at Port Said, soon slyly takes over the investigation and comes up with an eclectic group of suspects, all with secrets to hide, whom Gauche assigns to the same dining room. The company recite humorous or instructive stories that slow down the action but eventually relate to the identification of the killer. Gauche offers at least four solutions to the crimes, but in each case Fandorin debates or debunks his reasoning. The atmospheric historical detail gives depth to the twisting plot, while the ruthless yet poignant arch villain makes up for a cast of mostly cardboard characters. Readers disappointed by the lack of background on Fandorin will find plenty in *The Winter Queen*.
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

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As he picked up the second sheet of paper, Gauche warned his listeners:

‘This is the point where it starts to get interesting.’

I had been taught Arabic as a child, but my tutors were too indulgent with the heir apparent and I did not learn much.

Later, when my mother and I were in France, the lessons stopped altogether and I rapidly forgot the little that I knew.

For many years the Koran with my father’s notes in it seemed to me like an enchanted book written in a magical script that no mere mortal could ever decipher. How glad I was later that I never asked anyone who knew Arabic to read the jottings in the margins! I had decided that I must fathom this mystery for myself, no matter what it cost me. I took up Arabic again while I was sailing to Maghrib and the Levant, and gradually the Koran began speaking to me in my father’s voice. But many years went by before the handwritten notes - ornate aphorisms by Eastern sages, extracts from poems and worldly advice from a loving father to his son - began hinting to me that they made up a kind of code. If the notes were read in a certain order, they acquired the sense of precise and detailed instructions, but that could only be understood by someone who had committed the notes to memory and engraved them on his heart. I struggled longest of all with a line from a poem that I did not know:

Death’s emissary shall deliver unto you
The shawl dyed crimson with your father’s blood.

One year ago, as I was reading the memoirs of a certain English general who boasted of his ‘feats of courage’ during the Great Mutiny (the reason for my interest in the subject should be clear), I read about the gift the rajah of Brahmapur had sent to his son before he died. The Koran had been wrapped in a shawl. The scales seemed to fall away from my eyes. Several months later Lord Littleby exhibited his collection in the Louvre. I was the most assiduous of all the visitors to that exhibition. When I finally saw my father’s shawl the meaning of the following lines was revealed to me:

Its tapering and pointed form
Is like a drawing or a mountain.

And:

The blind eye of the bird of paradise
Sees straight into the secret heart of mystery.

What else could I dream of during all those years of exile if not the clay casket that held all the wealth in the world? How many times in my dreams I saw that coarse earthen lid swing open to reveal once again, as in my distant childhood, the unearthly glow that filled the entire universe.

The treasure was mine by right - I was the legitimate heir.

The English had robbed me, but they had gained nothing by their treachery. That repulsive vulture Littleby, who prided himself on his plundered ‘rarities’, was really no better than a vulgar dealer in stolen goods. I felt not the slightest doubt that I was in the right and the only thing I feared was that I might fail in the task I had set myself.

But I made several terrible, unforgivable blunders. The first was the death of the servants, and especially of the poor children. Of course, I did not wish to kill these people, who were entirely innocent. As you have guessed, I pretended to be a doctor and injected them with tincture of morphine. I only wished to put them to sleep, but due to my inexperience and fear that the soporific would not work, I miscalculated the dose.

A shock awaited me upstairs. When I broke the glass of the display case and pressed my father’s shawl to my face with fingers trembling in reverential awe, one of the doors into the room suddenly opened and the master of the house came limping in. According to my information his Lordship was supposed to be away from home, but suddenly there he was in front of me with a pistol in his hand. I had no choice. I grabbed a statuette of Shiva and struck the English lord on the head with all my might. Instead of falling backwards, he slumped forwards, grabbing me in his arms and splashing blood onto my clothes. Under my white doctor’s coat I was wearing my dress uniform - the dark-blue sailor’s trousers with red piping are very similar to the trousers worn by the municipal medical service. I was very proud of my cunning, but in the end it was to prove my undoing. In his death throes my victim tore the Leviathan emblem off the breast of my jacket under the open white coat. I noticed that it was gone when I returned to the steamship. I managed to obtain a replacement, but I had left a fatal clue behind.

I do not remember how I left the house. I know I did not dare to go out through the door and I recall climbing the garden fence. When I recovered my wits I was standing beside the Seine. In one bloody hand, I was holding the statuette, and in the other the pistol - I have no idea why I took it. Shuddering in revulsion, I threw both of them into the water. The shawl lay in the pocket of my uniform jacket, where it warmed my heart.

The following day I learned from the newspapers that I had murdered nine other people as well as Lord Littleby. I will not describe here how I suffered because of that.

‘I should think not,’ the commissioner said with a nod. ‘This stuff is a bit too sentimental already. Anybody would think he was addressing the jury: I ask you, gentlemen, how could I have acted in any other way? In my place you would have done the same. Phooee.’ He carried on reading.

The shawl drove me insane. The magical bird with a hole instead of an eye acquired a strange power over me. It was as if I were not in control of my actions, as if I were obeying a quiet voice that would henceforth guide me in all I did.

‘There he goes building towards a plea of insanity,’ Bulldog laughed. ‘That’s an old trick, we’ve heard that one before.’

The shawl disappeared from my writing desk when we were sailing through the Suez Canal. I felt as if it had abandoned me to the whim of fate. It never even occurred to me that the shawl had been stolen. By that time I was already so deeply in thrall to its mystical influence that I thought of the shawl as a living being with a soul of its own. I was absolutely disconsolate.

The only thing that prevented me from taking my own life was the hope that the shawl would take pity on me and come back. The effort required to conceal my despair from you and my colleagues was almost more than I could manage.

And then, on the eve of our arrival in Aden, a miracle happened! When I heard Mme Kleber’s frightened cry and ran into her cabin, I saw a negro, who had appeared out of nowhere, wearing my lost shawl round his neck. Now I realize that the negro must have taken the bright-coloured piece of cloth from my cabin a few days earlier, but at the time I experienced a genuine holy terror, as if the Angel of Darkness in person had appeared from the netherworld to return my treasure to me.

In the tussle that followed I killed the black man, and while Mme Kleber was still in a faint I surreptitiously removed the shawl from the body. Since then I have always worn it on my chest, never parting with it for a moment.

I murdered Professor Sweetchild in cold blood, with a calculated deliberation that exhilarated me. I attribute my supernatural foresight and rapid reaction entirely to the magical influence of the shawl. I realized from Sweetchild’s first enigmatic words that he had solved the mystery of the shawl and picked up the trail of the rajah’s son - my trail. I had to stop the professor from talking and I did. The silk shawl was pleased with me - I could tell from the way its warmth soothed my poor tormented heart.

But by eliminating Sweetchild I had done no more than postpone the inevitable. You had me hemmed in on all sides, Commissioner. Before we reached Calcutta you, and especially your astute assistant Fandorin …

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